Reading Quiz for Chapter 16

Read Chapter 16 in your book and check your comprehension by answering the following questions. Then “submit” your work.

  1. Question

    LN4E+jJswB82yXIwgOwOaWBAeBbhwMiaZyHP4YBrc/E5V55HwjCKSiSB2PpEcvoyYDZktapxeCToPKvjqdlZq6UYD+VslCqF1rDFqkYppmvhO7O6P0IfdDUQJszoEm4GoS7ol3CBGfg4gcTa4qmn5v3siPqGf+vjmPc2gyBJC94buxETzdbbgL0jGhff0eG+IvCXMxBA3sg3ftVg/TZgQVNSSHJigojJD6IFQF2r38S6p5UPahuTWOGQ9r45+Cv57OLZBPnQr6QoH1Thht2yXg4DesuYAEajLkEHnfAUTJGn7sL7X+SwRmBayJE=
    The highest artistic goal of the Romantic movement was
    Correct.
    Incorrect. See The Cult of Individual Feeling in Chapter 16.

  2. Question

    v4BKY/0m7KnabAFZL4c4CD3GUrXKeR3ZCYyAVhbPe0HEQ8D8pFvvr1gRB8o8OW8xHo6NXzCvbRl0rD6j/eWwz4bL16mRkzWaHZ+BoOrkXFtVnnctWf5NReT0bJhfvHxZLAMjMV1otTh7rsVFCNN516aQee3XoVimqjdRUub6janw4umd++xNnRNN+3ps5XflVjgIJq7oem1ek6luTl9Et9HJwyCnyYM/JSujCDgr5+iF9I9TIsOWl3QL01tW2AHsRzubci/84OfeLYeSDIWu001gCG33EIe8/vDKwzyJnHfPcLwUoWXSYojLcSkUdtEMX9zuHK9WWHPplojXQDKVO5UIVLWFuUrlOoCc4MbifgX+/NzGPzijiIgmn9ZWMD+SajeBUcbxgJPiBKosMcKvOqHFDHyI+uNEKexEM9VmdHLeoRsmjH7J3EpdL8ttnELj0h1M/DNdlaszQD1WhTyTg25dU2E3UyjoecYm0g==
    What role did the Romantics play in the revolutionary atmosphere of the nineteenth century?
    Correct.
    Incorrect. See Romanticism and Revolt in Chapter 16.

  3. Question

    q6ON5N/okCKLoH9hfCaYn+hycXttNhurhUKEtCq37hP/av3JAyn9biyQajCT27JhbY6JpQZTUC2BJ777eNvyrn38e5qwEwzOAJ9xvJZdbWSaKgnGTjd+u37O0pdDZJo7CiUOQ0t0PbZpK4ePJx6s+UhtnN8wefSM2FQeGwFFkL9cSt5K/qQTIuRYETR9+4h5vLGbbwcKUT+mtHQikVoP+CggBLQbU6DfPmCgeGulN149sEvrQGCWxQ49da0MFC8ckCuHobmXWuE0CM4b21NVHTWBrJzfFfbOTykKbuek82YAmeBqelvsizbqQwaKKCau8S3y4B2VvAeZBYqH8of78JULkGAPVTSvrgK1Sb7JgDX1ATlqfsg2VwK9KiKF90B7G7U9LdXKFmgDe19UWAa2PtrPHamljIs1Dne8ZL0KB/A=
    Which is true of Romantic composers?
    Correct.
    Incorrect. See Artistic Barriers in Chapter 16.

  4. Question

    aJWcRTGySKCmcelLu2KNFr4Ws8on9cORUJDAM5sy5e07Q4qDZJdYG2U/IQPVmGguX9w5e6RdYkGj9k4y4gHVWPw8S0zrEMyrM1cyjvrCUli7MnQ/v2GcwAOL4RSbOB/ekQlZuyoeWeha6hWjkYQGgu80WrDY03fNIpsRoEvVFp+1LJMGiCvUc3E84Hnq9OqdsJgn594WKzt64ZqqOsdV9mbptdT1k/z/
    Which playwright heavily influenced Romantic attitudes about rules and restrictions in art?
    Correct.
    Incorrect. See Artistic Barriers in Chapter 16.

  5. Question

    iYJcrK+DVQIv9Ixa5gezWAhkoVWQ/6r8dhXZW+kHYIRSyli1aysb3PZc2v1wzqL6V7I65NNnuwhe/pNbvaOsBoMRlo+xaYsvS8hXVcG+YMcE7kCvaJpfZuYoDOJUS4DNOMqFnWG5pFMRkctKt/tO3u7wIqtm6vGrBLc1E7mJOLGOx4iCE2jQq1yXXam4TxA7Z7W7bAxBVto7ECowJO4cxb+BQHRQHjYPEQCx6lt9bpn1SKrFZq92UGSj+ROmj5633XRDWNSwYtA9Q3nRcoQ5pD9WWOo/P99+bL7e9tG2+KmMWHqH/i9mioWFudNGxzlIwNH3jY3oD66yM5y/bfHDE4LWdsyN1YnrT7IYAvfx8kZBXjXrcGp+yHCFaaE4MVjZsYwcjZwQetQFmIYGJ/XTbw==
    Romantic music and literature often showed a fascination with
    Correct.
    Incorrect. See Music and the Supernatural in Chapter 16.

  6. Question

    /WemRDuk8KpyXFAXzYKdFH3zoJnZdEGzKLUAoJJMUjRMqgbiyImKYCMDhFKJaaYx64iyklT4+GMWQxuoxiAeG4Cp7m4nMCQrxA0L7LwDb45n1HADTKqMuW6NdYz4TAcuEKpvObb+dhSmvS+0ILcj9xBw2UmWYbzsCtASDi5e5uqJCoUUrh5rfgpDhuwlBBZBaLz8S2mu8lM/GyiYsTjPGZKsDmkZcJamEVsiEwKEPA0LQuFXHf0+h3k4jI6S9a5vF4F4cxtTbq9RRcyLvYUdtlRmvvhyJJzOW+xDufCc5reeLAicspMnzqbBLPclbVpqr6YvdlQJ/erqMKeN2PqlUmZ3eTI=
    Which of the following did the Romantics prefer in the arts?
    Correct.
    Incorrect. See Music and the Other Arts in Chapter 16.

  7. Question

    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
    Which statement best describes the relationship between composers and concert audiences in the nineteenth century?
    Correct.
    Incorrect. See The Artist and the Public in Chapter 16.

  8. Question

    GL+Ivs0HrUEYe1GWlGcJSRPFUJkbA0ytrg4ZMZZf94HYUx1rOeubJgaWxAs1h+oV6ks9tMOL9iKhaiNvGblGL8EQF15KzWbXAfW7Jhl76oPrRkL8VkydfvdmWHEVAo2+7QpJR0ltsryFdTIEOASoqAc3tJX6ughPNI28w76mC2BHo9SYcrTy+6tW1Ix3f4kru9NNlVSR8f4zFQ0ydxl+bJLrgDs+NUqN6xNlT8p1ECnyZeV9tHBtZEIpgmO457M6QS1m1cSApfkNA9HqYprpqjokaGaGVt1KX5XAVSJeGtv7rKVJUkM86dBx5fXJJ2dGjwcJbeGr1KHNxwNczg/zPVhRm3zgYLm7+Lkg94atzhHry2aKniAwTFgMxhHv444lxlbPtrngQMT/aVBk9UbIqcHG06Q+b0WcFwVVvkTxSyKcmkD1+zrLoeJX52p/kGFfrgwi/A==
    What is chromaticism?
    Correct.
    Incorrect. See Romantic Harmony in Chapter 16.

  9. Question

    j8rDiowZtEoErKn4+Azq/5VU+Me43nxn8aSRvED7SXZyik20vw3SSm59mqpRA4jB3B+AiwpIP5hFDx0nJVQ+2g1fVTKd7dYyu32p8IoaeeVee1bxQ4aEJw3aLU6ZcMOzy47Ze9lvRv1ZBZHoilV/dbdk2I1Tx9xTNT6nRR6TvU6ap9H5za5wBY134WModcS4ks2vGux8ykLd5vaRtpA5OpiraT91FbihzUamijjMKU4/9bHvYEnetrxy3kcNXivsz1JwL/quO03hH5AAyYOyu42EmDDA+zME+OSyPgBnmjW8ACfYJ5aX/a4Xl5Jpicsj
    The technique of improvising rhythmically, “stealing” time from the beat or allowing the meter to waver, is called
    Correct.
    Incorrect. See Rhythmic Freedom: Rubato in Chapter 16.

  10. Question

    CEKinuo0RKPRw/OxwVvvKDHeks8xCszN2TYKVPeuqTPycwIxJOTfTT1t0BBb65x3RgOiEuffX5Az3GSYQMo+LMB1xLCpvfAJxVlE0uIwLf3oe0VcpjeyrgHoPaT83wG/PUW3vRuHn9bDSjHM48IrZHq0yUjpvBKh3yESfjsB1ux6UmgvTj4tiDGewgNR3+gaJKVXzfXnNVVu5hA61UvMRlS15LaM1wu7ahNnfVRTtw9hGsDFrYEP8yp19tzpLiJtdFv5s7MMy978bfyLRP9T3R+avEm9pYj5Y/coNMKNtz/fQjBpGDHvn5r/dyQMGjHdhtCpoOrtKopVmU6/EGEIQR/Kn0iEzM6NLAY4VvH9wcljtyCtdlqPNXRWdfdH8+VwQ7J9woG5K/xoUYCxFKwd2/q7SIq9RMB6etymRTq/I5gc6ayvh8hx+PFFc19B0iJPILmyyVXfze12xntsNiK9sSq+hRNYGj86I2ajuGEIJImwB6Hs50WZmJgm10Hn5STpffLsEKvmCBQc7n6a8si9tUd4HCz8nyfsKOvWi5YloYe0OFlXXMi0hA==
    How was the Romantic orchestra different from the Classical orchestra?
    Correct.
    Incorrect. See The Expansion of Tone Color in Chapter 16.

  11. Question

    VT004iwaiZe/uQ/7+S3+jme0fLH7iRUd+H9YSk0tzFHXS+dQ4oMG8coJcwIiHveULFzeEN9VA0LMUVErixGIFeHTqJ3csURhu6ueqASuCcj1ciBZgbZeN1kYtPXqet0zbLw/KTXVxgxQyuO+f4B9v0hSjBP2hRqGvmhRi8IfvJR2QVEnqt/XZgLYOPMvwjnnqDkCWD21lsBPJy0iwngd73F04MQfyUAm9uOvBqNyiDAeGBDoHFoquE4fGP8997RZ4BdPdYwhjmAQMDBxJxD+Hb7Pzfby3xeg
    Instrumental music that is associated with a poem, a story, or some other literary source or nonmusical idea is called
    Correct.
    Incorrect. See Program Music in Chapter 16.

  12. Question

    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
    How did Romantic composers feel about conventional, standardized forms in music?
    Correct.
    Incorrect. See Form in Romantic Music in Chapter 16.

  13. Question

    FoQnhMAcgnIh7ImODsDtbEtOD/L4yXr3iQKGDNhZgQOk1kwFUEZWtITCfChOgE7gQh1CVD9v5nuxYz1h7mnpNv+Mdd6Jn5nfHRt1xX+8vl+7XfTVEmXJA/0d2uAOsEIVBHS6ZDaKpxHvpBru182X7M1mouh6bFOoZIzqLKPdzOMUc2Cw0Uamdq1VdPWpM9CbHzE+dor8T+TEzwO4+16fjai9iUMxdEUrzehCNHs19X2Ic0w9DWilOcDF6NyYeFxiz36YwMLwwo95ypcwPoURndCvdUGeowT+/nPnrUF8PUJb4alhDcvLz4m5CmUZtXG/hGQSOQs2hgPmGQOstrneQSDowJZo0p7KmvryIVjd6LhwCzUjyzkSmevTvYG1hQySKWGzSozRUAMWkePk
    What are miniatures?
    Correct.
    Incorrect. See Miniature Compositions in Chapter 16.

  14. Question

    DAKB+CQTIix01Wd0BUJJ55m7YcY6044pOG32AXHTST9wn+JFMHIHdff9vMJ5uon77CtK5fGj1yKrqoNAF+IG0ldqNnYco90lF+SgeXcoGxMNOFgjq22arQfeWfzJc0+gfyZx4KkHH4oAtad6KLhb4Fb5LKKsHyHySATklvmUIkb9g82s6ojAmbrNj0WcEbHbw3OELX1BSsTKqHACl0lffoP4hj2RbGnbS9kewB5durgF+GbTbay92hpFqL6IfXkJzridIq+j7BjRGhXEjyxP57C+v/cWUvU6aLGMKpBZIjZ7rJe/Qg0/9oLD477NyakuuemnyCRxmak=
    The tendency of Romantic composers to maintain some of the same thematic material over the course of a long, multimovement work is the principle of
    Correct.
    Incorrect. See The Principle of Thematic Unity in Chapter 16.

  15. Question

    BuqPLRQMUSsxQSRS2cvi6DAeYBI3b15IyOVFq7YGWYSZYUwal+rTqijZA9b7OXPQOSOeCGN9udDCVJoXqRVSKU8ooYODQdpGgM+GKG9ViCyp9HPpqBVs89bLSQLjnq9iU6ybJBU3EM51JEvx0a+RJQRM7qKBJ/P0IoxCF5SgSvLzGHFZX8o5I9UoeFX5+AN12M6uNrPps+IAj9iF7uxl2tlB2KsuKXs1OrVokZA6xrnlLPyw3VPt08n108rHGX9rwZaifcWntob3Ab3w9evap4Js6mDGIWMRUuuJwqL8A+pcRHUy6SGFrVkysGJ62uz6zL5ba5EYKbvNiHf8nVgjwz+M0vbrODvi
    The Romantic variation-like procedure whereby short themes are freely and unpredictably varied is called
    Correct.
    Incorrect. See The Principle of Thematic Unity in Chapter 16.